| Bringing pathological, incoherent theatre to downtown Manhattan, where it can do the most good |
| FOUNDER AND ARTISTIC DIRECTOR BERNARD GURK |
Bernard Gurk is an award-winning writer,
director, producer, and designer who for
many years has been presenting his work
at the Pathological/Incoherent Theatre,
which he founded and where he basically
lives. Gurk's plays, which are defiantly
non-narrative, non-structural, and
non-enjoyable, seek to "weed out the soul"
of contemporary culture through the
manipulation of media in a movement-
generated, space-based creative climate.
His work has been published in several
volumes, including Eight Plays by Bernard
Gurk, Seventeen Plays by Bernard Gurk,
and the well-received One Play by Bernard
Gurk. He is the recipient of over ten million
dollars in foundation grants.
director, producer, and designer who for
many years has been presenting his work
at the Pathological/Incoherent Theatre,
which he founded and where he basically
lives. Gurk's plays, which are defiantly
non-narrative, non-structural, and
non-enjoyable, seek to "weed out the soul"
of contemporary culture through the
manipulation of media in a movement-
generated, space-based creative climate.
His work has been published in several
volumes, including Eight Plays by Bernard
Gurk, Seventeen Plays by Bernard Gurk,
and the well-received One Play by Bernard
Gurk. He is the recipient of over ten million
dollars in foundation grants.
| . |
| OUR MOST RECENT PRODUCTION FLOSSING KAFKA Written, Directed, Conceived, and Designed by BERNARD GURK |
| "Postmodern to the point of nausea" - New York Times "Unbearably long and pretentious" - Time Out "Gurk remains the vanguard of obscurity" - Village Voice "Sadly, my ticket was non-refundable" - New York Sun "Absolutely brilliant...a theatrical stunner" - Off Off Online |
THE PATHOLOGICAL/
INCOHERENT THEATRE
IS MADE POSSIBLE BY
GENEROUS SUPPORT
FROM:
The Rich Foundation
The Peter and Harriet
Milanthorpe Charitable Trust
The New York Art Council
The Art Council of New York
The Helen Paam Theatrical
Endowment
SEE/NYC
The McPooter Fund
The Fairchild Foundation
The Synapse
The City Endowment for the
Arts West of Second Avenue,
East of University Place,
North of Broome Street, and
South of Eighth Street
The Gil and Pat Ho
Foundation
Access Culture Right Now
The New York Drek
Association
Budweiser
The Marian Coatsworth Hay
Charitable Endowment
The Fleming Trust
C.R.E.A.T.E.
The Annoying Arts Alliance
BE-downtown
The Wrong Foundation
Y.A.W.N.
INCOHERENT THEATRE
IS MADE POSSIBLE BY
GENEROUS SUPPORT
FROM:
The Rich Foundation
The Peter and Harriet
Milanthorpe Charitable Trust
The New York Art Council
The Art Council of New York
The Helen Paam Theatrical
Endowment
SEE/NYC
The McPooter Fund
The Fairchild Foundation
The Synapse
The City Endowment for the
Arts West of Second Avenue,
East of University Place,
North of Broome Street, and
South of Eighth Street
The Gil and Pat Ho
Foundation
Access Culture Right Now
The New York Drek
Association
Budweiser
The Marian Coatsworth Hay
Charitable Endowment
The Fleming Trust
C.R.E.A.T.E.
The Annoying Arts Alliance
BE-downtown
The Wrong Foundation
Y.A.W.N.
| . |
| . |
| OUR SECOND MOST RECENT PRODUCTION HORSE MILK Written, Directed, Conceived, and Designed by BERNARD GURK "Boring" - Backstage "Atrocious, and strangely proud of itself" - Daily News |
| THE PRODUCTION BEFORE THAT THEY STILL CALL ME FITZY THE FISH-FACED BAKER OF THE APOCALYPSE Written, Directed, Conceived, and Designed by BERNARD GURK "Who is he kidding?" - Variety "Provocative" - American Theater |
| OTHER PREVIOUS PRODUCTIONS COMPLAINTS ABOUT THE WEATHER WHO PUT ALL THOSE SAUSAGES IN THERE? (A FABLE IN ELEVEN ACTS) THE BOOK OF DEATH CHARLIEFART PSEUDOMORALCAPTIVITY PENIS: A CELEBRATION NAVEL: A CONTEMPLATION WILL I STILL BE A LITTLE BOY WHEN THE RAINBOWS DON'T RUN NO MORE? SYLVIA PLATH AND GHANDI GO TO NATHAN'S LONG RANDOM LISTS THE NEW YORK CITY TELEPHONE DIRECTORY PROZAC BLENDER OXEN: A LOVE STORY ROBBER MACK, ROBBER MACK, GET UP AND FACE THE DAY BECAUSE THE MUSIC IS PLAYING AND THE BIRDS SHINE BRIGHT CUNTS! VOLTAIRE SPIT ON ME ONCE THIS IS MY ACCIDENT |
"I don't sit down to write a play," Gurk
explains. "I do it in kind of a kneeling
position, which is better for your back."
Ever since his first play, This is My
Accident, Gurk has pushed boundaries and
challenged envelopes. "Instead of thinking
about what kind of play I want to write,
and then writing it," he says, "I spend a
day or so scribbling random, disassociated
words on a napkin or the head of a bald
man. Then I bring in the actors, and they
read everything out loud, which gives me a
sense of the way it sounds when the lines
are spoken." Gurk has tapped into a new
audience not seduced by the philistine
pleasures of theatre which is actually
meaningful. "My work is about breaking
down old ideas," he says, "like this
conformist, Establishment notion that
when an audience goes to the theatre they
should see something. Sometimes we give
them nothing at all, just nothing at all for
their money. What do I care? That's why I
created the Pathological/Incoherent
Theatre. It's a place where the artist reigns.
As far as we're concerned, the audience
doesn't even have to show up. They get in
the way of the process." Coming up next:
Modes of Ennui, in which three actors
scream for three hours.
explains. "I do it in kind of a kneeling
position, which is better for your back."
Ever since his first play, This is My
Accident, Gurk has pushed boundaries and
challenged envelopes. "Instead of thinking
about what kind of play I want to write,
and then writing it," he says, "I spend a
day or so scribbling random, disassociated
words on a napkin or the head of a bald
man. Then I bring in the actors, and they
read everything out loud, which gives me a
sense of the way it sounds when the lines
are spoken." Gurk has tapped into a new
audience not seduced by the philistine
pleasures of theatre which is actually
meaningful. "My work is about breaking
down old ideas," he says, "like this
conformist, Establishment notion that
when an audience goes to the theatre they
should see something. Sometimes we give
them nothing at all, just nothing at all for
their money. What do I care? That's why I
created the Pathological/Incoherent
Theatre. It's a place where the artist reigns.
As far as we're concerned, the audience
doesn't even have to show up. They get in
the way of the process." Coming up next:
Modes of Ennui, in which three actors
scream for three hours.
